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Art: Views of Rome 1774
Artist: Giovanni Battista Piranesi
Presented By: The Uffizi
Many look at ruins and think behind them and say how beautiful they would have looked back then but they miss the whole point. This drawings shows just that if it wasn't considered beautiful I don't think the artist would've took his time to draw this. It is a beautiful thing to see what others saw centuries ago and is still a beautiful view ti gaze upon on not just a ruin.

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View of the so-called Temple of Concord in 'Views of Rome' by Giovanni Battista Piranesi | Artworks | Uffizi Galleries

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This view describes the fringes of the Forum, or "Campo Vaccino". The skilled fixing of a viewpoint and the powerful diagonal view guide the observer along a route in which the minute episodes of a kind of urban arcadia emerge.

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Art: Blue room 1713
Artist: N/A
Presented By: The Uffizi
The Blue room is a perfect piece and example of architectural & interior art. It lays out in all its beauty dating back to 1713 to remains today being preserved to serve right for the eyes gaze to admire it celling down living you in total awe.

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Like the Green Room and the Throne Room, this room too was renewed between 1854 and 1855 when this suite was known as the new "Quartiere delle Stoffe".

After the addition of new wallpaper, in this case in a shade of blue, the room was also given a carpet made by French weavers in Tournai, which stands out for the neo-baroque decorative style, updated to the fashions of Paris and London in the mid-19th century.

It can be deduced from the inventory of 1911, taken as a reference for reconstructing the furnishings in the Apartment, that everything in this room was lost or transferred to institutional premises in Rome, with the exception of the small round table with a pietre dure top on a base in porphyry, and the four candle holders. Taking into account the fact that the paintings in this room were already in this wing of the palace at the time of Grand Prince Ferdinand, who died in 1713, the current appearance of the room pays homage to some members of the Medici family or those who were joined to it by marriage (except Cardinal Camillo Francesco Maria Pamphili), and who had spent time in these spaces during the course of their lives. The walls therefore have ten of a series of twelve portraits painted between 1621 and 1645 by court painter Justus Sustermans, all identical in size and given new frames in the 1720s on the wishes of Grand Duke Cosimo III, together with a full-length portrait of Christina of Lorraine, her daughter Claudia and husband Leopold of Austria, Cosimo II's children, Francesco and Mattias, painted a few years later, Grand Duke Ferdinand II, and Cardinal Carlo de' Medici. The large chandelier carved by Vittorio Crosten, and the oldest still in the palace, also dates back to the 17th century, while the white stucco and gold ceiling dates back to the period of Peter Leopold of Lorraine, as does the "eagle" fireplace by Francis Harwood, an Englishman who moved to Florence, where he ended his days in 1783, who worked as a portrait painter and copyist of Roman antiquities for travelers on the Grand Tour, but employed by the Grand Duke to restore the sculptures in the palace and the Boboli Gardens.

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Blue Room in Pitti Palace | Artworks | Uffizi Galleries

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Like the Green Room and the Throne Room, this room too was renewed between 1854 and 1855 when this suite was known as the new "Quartiere delle Stoffe".

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Artist: Leonardo Da Vinci
Art: Adoration of Magi 1683-1685
Presented by: The Uffizi
The beauty in this art piece is the admiration for human life. It's beautiful to be in the presence of the creation of new life even so to be able to create it is such a beauty of a thing.

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Adoration of the Magi, Luca Giordano | Artworks | Uffizi Galleries

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Adoration of the Magi, Luca Giordano. The painting dates back to the period when the artist returned to Naples between his two visits in Florence (1682-1683 and 1685-1686). The original location of the canvas explains its large dimensions and the vertical format

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Artist: Galleria Romanelli
Art: Gaddi Torso 1st century B.C
Presented by : The Uffizi
The sculpture represents beauty in the ways of a man how the material of a man can be sculpted to be admired such as a women. Giving men representation along side women this details the curves of the male body showing how beautiful the male body can be.

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This robust torso was purchased in 1778 by Grand Duke of Tuscany Peter Leopold from the Gaddi collection, which was located in Florence; nothing is known of the work prior to this date, except that it was part of the above-mentioned private collection.

The statue is derived from a prototype of the 2nd century b. C. and, although only the torso is preserved, it is evident that it was originally a Centaur with hands bound behind its back. It was part of a group consisting of a young, free and exuberant Centaur, and an ancient one, being ridden by a cupid who strikes it with a whip. What remains of the torso tells us of a young, muscled body, whose energy seems to be constrained inside the limits of the material in which it is made: the strain in the twisted torso is visible in the sculpture. It can be easily interpreted as a metaphor for the invincible strength of Eros, even able to control the wild Centaurs; this symbol of strength and power was used several times as a model for different art forms, including painting, and especially in the period between the 16th and 17th centuries. An undeniable evidence of this is the "Adoration of the Shepherds" by Amico Aspertini, a refined oil painting on wood, dated 1515 and preserved at the Uffizi (Inv. 1890 no. 3803), where the torso is shown on the far left, resting on a marble base that is very similar to an altar.

One curious fact: unlike other sculptures, this work was never completed to restore its original appearance. It was considered such a high-quality artwork, so powerful in its emotional effect, that it was decided not to interfere with the extraordinary evocative power of the past.

3D Model realized in collaboration with Indiana University. Visit https://www.digitalsculpture-uffizi.org/

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Gaddi Torso | Artworks | Uffizi Galleries

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This robust torso was purchased in 1778 by Grand Duke of Tuscany Peter Leopold from the Gaddi collection, which was located in Florence; nothing is known of the work prior to this date, except that it was part of the above-mentioned private collection. The statue is derived from a prototype of the 2nd century b.

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Artist: Andre Giroux
Art: Santa Trinità dei Monti in the snow 1826-27
This oil painting is attached the word beauty because it just comes to show the perspective of someone else rather than your eyes and what they can create. By the look of this town all I think is wow amazing and beautiful making me want to witness this view for myself in all its light and sights that give it all its beauty.

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Giroux first studied painting under his father in his native Paris, and began to exhibit landscapes at the Salon in 1819. He entered the École des Beaux-Arts in 1821 and won the Prix de Rome for historical landscape in 1825. This coveted prize took him to the Académie de France in Rome, where he studied until 1830. Many a French artist made the trip to Rome during this period, and Giroux numbered among his friends there such innovative young landscape painters as Jean-Baptiste-Camille Corot, Caruelle d'Aligny, Edouard Bertin, and Léon Fleury. Although idealized, historical landscapes won official academic favor, in practice Giroux and his contemporaries had a passion for working out-of-doors. They sought to capture their experience of nature as immediately as possible by painting in oils, usually on prepared paper, in the open air. A sense of immediacy is often conveyed by the sketchiness of these open-air studies, which were usually made quite quickly. Sometimes, however, these artists completed such works in the studio, bringing them to a greater degree of finish. Giroux and his compatriots went on painting expeditions together, both in Rome and beyond its walls, into the surrounding campagna. In 1831 Giroux submitted a group of such oil studies made in Italy--probably the more finished type, rather than freely executed sketches--for exhibition at the Salon in Paris, where they won him a gold medal. This indicates a growing public and official acceptance, immediately following the Revolution of 1830, of a more naturalistic aesthetic.

Santissima Trinità dei Monti, in the Snow was most likely painted from a window, rather than strictly in the open air: after all, such weather was hardly conducive for working outdoors! The view is taken from the north side of the Villa Medici, the seat of the Académie de France on the Pincian Hill in Rome, looking toward the famous church and convent of the title; the convent's snow-covered kitchen garden is in the foreground. We can speculate that the view was made from the artist's own window while he was a student at the Villa Medici. The date of 1827-1828, suggested by an old pencil inscription on the stretcher of the canvas, is consistent with Giroux's residence there. Beyond the church of Santissima Trinità dei Monti, the Palazzo Quirinale blocks the horizon; the obelisk to the right in front of the church marks the top of the Spanish Steps. Giroux has captured the steely gray light of a cold winter's day, and brilliantly combines a sharp sense of topographical accuracy with a lively, sketchy, painterly touch.

More information on this painting can be found in the Gallery publication French Paintings of the Nineteenth Century, Part I: Before Impressionism, which is available as a free PDF https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/french-paintings-nineteenth-century.pdf

(Text by Philip Conisbee, published in the National Galery of Art exhibition catalogue, Art for the Nation, 2000)

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Giroux first studied painting under his father in his native Paris, and began to exhibit landscapes at the Salon in 1819. He entered the École des Beaux-Arts in 1821 and won the Prix de Rome for historical landscape in 1825. This coveted prize took him to the Académie de France in Rome, where he studied until 1830.

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Artist: Charles William Carter
Art: Beauty Unadorned. - Pahute 1863-1875
Beauty comes in many ways and forms. This indigenous women reflects upon beauty itself demonstrating and opposition against the word manly. She shows how it is a normality for women to be other than for a mans gaze of thin & slim bodies.

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Beauty Unadorned. - Pahute. (Getty Museum)

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Artist: Roman based
Art: Crouching Aphrodite 50 B.C
Presented by: Kimbell Art Museum
Aphrodite the goddess of love. Love is such beauty itself it's clear that it reflects on confidence & self love Aphrodite had for self with this half naked sculpture of her. It is beautiful to see how a goddess was able to love herself & body. This sculpture expresses the bodies curves and fulfillments to show no matter your body shape you are beautiful that their is no standard not even a goddess.

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According to the primal Greek myth recounted in Hesiod's Theogony (genealogy of the gods), Aphrodite, the goddess of love, was born of the aphros, the foam created when Kronos threw the genitals of his father, Uranos (Heaven), into the sea. The impregnated foam floated first to Kythera, then across the Mediterranean to Cyprus, where the goddess was born as she stepped ashore fully grown. Reflecting this aqueous origin, Aphrodite is frequently depicted in relation to water-bathing, or drying herself after her bath, sometimes accompanied by a seashell or dolphin.

Aphrodite was a highly popular subject in Greek art. The most famous sculptural representation-by Praxiteles in the fourth century B.C., showing the goddess unrobing to bathe-established the first ideal of nude female beauty that could stand alongside the canon of the athletic male. The theme of Aphrodite crouching in her bath also enjoyed great popularity and was the subject of numerous sculptures known from ancient authors and Roman copies. The Kimbell version, one of many variations on a famous Hellenistic original, embodies the qualities of beauty and voluptuous sensuality that characterize the goddess of love. She was shown crouching to bathe, her head turned sharply to the right, her left arm brought across the body to touch the right thigh, her right arm held up to near the left breast and shoulder. The somewhat spiral effect of her stance appealed to the Hellenistic taste for animated poses that embrace and engage with the space around them.

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Crouching Aphrodite | Kimbell Art Museum

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According to the primal Greek myth recounted in Hesiod's Theogony (genealogy of the gods), Aphrodite, the goddess of love, was born of the aphros, the foam created when Kronos threw the genitals of his father, Uranos (Heaven), into the sea.

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Art: Mclaren MP4 2009
Presented: Peterson Museum
Everything can be art this car is a perfect example of that. Behind this piece of art we have a beautiful engineered piece of metal design to beat the odds of speed. This is extremely beautiful in the eye of science and aerodynamics it represents the word beauty for other than the feminine gaze.

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Driver Lewis Hamilton began his career with McLaren in 2007 and, a year later, in the livery shown as a tribute on this vehicle, drove the MP4-23 to his first World Drivers' Championship title, becoming the youngest to do so in F1 history. For 2009 Hamilton returned to drive McLaren's new MP4-24, which notably combined an internal combustion engine with an electric Kinetic Energy Recovery System (KERS). With Hamilton at the wheel, the MP4-24 became one of the first hybrid vehicles to win an F1 race.
Courtesy of Juan Gonzalez / Car Amigo USA

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Mclaren MP4-24 - Petersen Automotive Museum

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Driver Lewis Hamilton began his career with McLaren in 2007 and, a year later, in the livery shown as a tribute on this vehicle, drove the MP4-23 to his first World Drivers' Championship title, becoming the youngest to do so in F1 history.

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Artist: Alexandros of Antioch
Art: Venus de Milo
Organized by:
Presented:  The Louvre, Paris
Aside from the statue de Milo commonly thought to represented Aphrodite. She most vividly represents beauty beating todays beauty standards. She is open to be seen for who she is that being rich is skin. Seeing that she obtains full filament in body and shape.

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Ideal Greek Beauty

1. Back to Home

2. See all breadcrumbs

3. Explore

4. The palace

5. Ideal Greek Beauty

The Louvre's gallery of antiquities, which replaced the royal apartments, displays masterpieces of Greek sculpture - including the famous Venus de Milo. You would need a heart of stone not to be moved by her grace!

From Milo to the Louvre

Together with the Mona Lisa and The Winged Victory of Samothrace, the Venus de Milo is one of the three most famous female figures in the Louvre. Her name comes from the Greek island of Melos (now called Milos), where she was found in 1820 and acquired almost immediately by the Marquis de Rivière, the French ambassador to Greece at that time. He then presented her to King Louis XVIII, who donated her to the Louvre in March 1821. In barely two years, the Venus had moved from the shadows to the light.

Aphrodite or Amphitrite?

When she first arrived at the Louvre, it was suggested that her missing arms should be restored, but the idea was eventually abandoned for fear of changing the nature of the work.

The lack of arms made it hard to identify the statue. Many depictions of Greek gods and goddesses contain clues to their identity in the form of 'attributes' (objects or natural elements) held in their hands, so this sculpture poses a problem: is she the sea goddess Amphitrite, particularly worshipped on the island of Melos? Or is she Aphrodite, the goddess of beauty, as might be suggested by her sensual, half-naked body? This second argument, and the jewellery she once wore, tipped the scales in favour of Aphrodite ('Venus' for the Romans). Another possible clue was found near the statue: a hand holding an apple - an attribute of Aphrodite - carved from the same Parian marble.

The Venus de Milo

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The Galerie des Antiques

The Venus de Milo can be admired today in the last of a long series of rooms where she stands in almost solitary splendour. The magnificent red marble decoration dates from the early 19th century and the reign of Napoleon I.

In 1807, the emperor bought the prestigious art collection of his brother-in-law, Prince Camille Borghese. To house the collection, he commissioned the architects Charles Percier and Pierre Fontaine to enlarge the recently created Galerie des Antiques.

Like the first part of the gallery, the new rooms replaced the royal apartments - but Percier and Fontaine changed their layout completely, demolishing partition walls to enlarge the space and adding grey and red marble to set off the whiteness of the statues. The inauguration took place in 1811, ten years before the arrival of the Venus de Milo.

Make way for the goddess!

The Venus de Milo entered the Louvre in 1821 but her location within the museum has been changed several times. Unsurprisingly, she was first placed in the Galerie des Antiques, where she can still be admired today. But a number of questions arose: should she be displayed alone or among other artworks? What kind of base should she stand on and in what kind of setting? Wouldn't she look better among the paintings in the Grande Galerie? Finally, after almost 200 years, the Venus was returned to the room where she had first been displayed - and now she has pride of place, standing almost alone in the middle of the exhibition space to allow visitors a better view.

To sum up!

The Louvre's collection of Greek and Roman antiquities was installed little by little. The process began in 1692 when Louis XIV displayed some of his sculptures in the Salle des Cariatides. The year 1798 saw the arrival of other antiquities, confiscated during Napoleon's military campaigns in Italy. The summer apartments of Anne of Austria were converted to create the Galerie des Antiques. Napoleon I bought the collection of his brother-in-law Prince Camille Borghese in 1807, then had the gallery expanded to include the nearby rooms which now house the Venus de Milo, among other masterpieces.

Greek sculpture masterpieces

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A statue in several parts

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Ideal Greek Beauty Back to Home See all breadcrumbs Explore The palace Ideal Greek Beauty The Louvre's gallery of antiquities, which replaced the royal apartments, displays masterpieces of Greek sculpture - including the famous Venus de Milo. You would need a heart of stone not to be moved by her grace!

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Artist : Édouard Manet
Painting: Spring , 1882
Organized by Curators: Scott Allan & Emily A
Presented by: The Getty
Beauty is not only to be used in a feminine way. This painting adds to a whirl of meaning behind the word beauty. This painting symbolize's the merging of female beauty and the becoming beauty of nature hence spring. They come together and compliment each other leaving total admiration for all things beautiful.

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"An exhibition for our time." -The Washington Post

Édouard Manet was a provocateur and a dandy, the Impressionist generation's great painter of modern Paris. This first-ever exhibition to explore the last years of Manet's short life and career reveals a fresh and surprisingly intimate aspect of this celebrated artist's work. Stylish portraits, luscious still lifes, delicate pastels and watercolors, and vivid café and garden scenes convey Manet's elegant social world and reveal his growing fascination with fashion, flowers, and modern femininity, as embodied in the parisienne.

This exhibition has been co-organized by the J. Paul Getty Museum and the Art Institute of Chicago. It is supported by an indemnity from the Federal Council on the Arts and the Humanities.

The presentation in Los Angeles is made possible with major support from Elizabeth and Bruce Dunlevie. It is sponsored by City National Bank and generously supported by Ellen and David Lee and Maria Hummer-Tuttle and Robert Holmes Tuttle.

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Édouard Manet was a provocateur and a dandy, the Impressionist generation's great painter of modern Paris. This first-ever exhibition to explore the last years of Manet's short life and career reveals a fresh and surprisingly intimate aspect of this celebrated artist's work.